Porfiry prefers to taken an entirely different approach. When Raskolnikov
ends his explanation by saying that in his mind men have equal rights "until
we have built the New Jerusalem...," Porfiry asks if he believes in the New
Jerusalem, in God, in Lazarus. This introduction of religious themes seems
out of place, but it is not. Belief in Lazarus, in particular, which means
belief in the miracle of the dead returning to life, in the Christian idea of
resurrection, is crucial to the resolution of Raskolnikov's crime, and of the
novel.

But having asked the question, Porfiry makes another leap. This time he
asks, in a mocking tone, how you can tell an extraordinary person from
anybody else. Raskolnikov chooses to ignore the mockery and answer the
question. It is no problem, he insists, because anyone who acts as if he is
extraordinary and isn't is no threat. He will punish himself.

Raskolnikov picks up Porfiry's mocking tone, but the chief difference
between the debaters is that he is deadly serious, while Porfiry is not.
To torment him a little more, Porfiry suggests a practical application
of the theory. What if someone did commit a crime? But Raskolnikov is
not to be outdone. Society has methods, like exile and prison, he says,
to deal with criminals. And if they get caught, it serves them right.

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Porfiry presses further: What about the criminal's conscience? Raskolnikov
responds that a man who has a conscience will suffer if he believes he's
done wrong. If he feels pity for his victim, he will suffer. Further, he says
that truly great men experience great sorrow as a consequence of their
actions.

But it is the final question that is the most pointed. Porfiry asks if
Raskolnikov considers himself an extraordinary man, and Raskolnikov
responds, "Very likely." Their dialogue is tense. "Doesn't that tempt you to
crime?" the investigator asks. "If I had done so, then of course I should not
tell you," the murderer answers.

Razumikhin, who has listened in disbelief to the entire interview, is
depressed, sensing that there is more to Raskolnikov's illness than he
had ever imagined.

But Porfiry isn't finished. Trying to trick the weary Raskolnikov, he asks if
he had seen the painters the night he was at the pawnbroker's. But of course
they were there only the night of the murder. Razumikhin catches him in
this trick, and points it out in a surly tone. He and Raskolnikov leave,
gloomy and depressed.

NOTE:

This astounding interview is important not only for the provocative
ideas it presents and the insight it gives us into Raskolnikov's mind,
but also as the beginning of Porfiry's strategy to trap Raskolnikov into
confessing. You may find yourself returning to this scene to prepare for
essay questions or to gather ideas for a writing assignment.